This study has been carried out to identify the actualstate of transmitted affectionate Gasas based on the research of features of genre in twelve Gasas, and to examine how the affectionate Gasas from the 19th to the 20th Centuries were understood, th...
This study has been carried out to identify the actualstate of transmitted affectionate Gasas based on the research of features of genre in twelve Gasas, and to examine how the affectionate Gasas from the 19th to the 20th Centuries were understood, through the research of their refinement. The affectionate Gasas for this research are Chunmyeongok, Sangsabyeolgok, Hwanggyesa, Gilgunak, and Maehwaga. The reason why these five Gasas were chosenis that their theme is about affection, such as the sadness of a breakup, longing for the loved one, and so on. Also there is a reference of tone of Gasas fixed by the criteria of Sadaebu (Literati Class) in the old records, so that this can be a basis of comparison between these affectionate Gasas and other Gasas.
Gachang Gasa naturally spread during the 18th and 19th Centuries, led by the Pungnyu Culture. Later it was expanded to the Yeohang-Sijeong Culture due to the change of the times, so that main class for the Gachang Gasa was shifted to the Jungin and Seomin classes. Later, the frames of the twelve Gasas were formed at the time (early 20th Century) when Jeongagyujihoe was founded and operating to hand down the musical culture of Pungnyu. These twelve Gasas have been transmitted until now, and there are differences in tones among the pieces of Gasa,although their grade was recognized as Jeongag by Sadaebu.
The causes of the differences in tones of Chunmyeongok, Sangsabyeolgok, Hwanggyesa, Gilgunak, and Maehwaga can be found in the period of their existence, the texts in terms of literary aspects, and the musical structure in terms of musical aspects. In the literary aspect, the contents and structure of texts of five Gasas were identified as having insufficient contextual relationship. Therefore, different tones herein mean the different existences and musical differences, rather than the contents of texts. At the point of existence, Chunmyeongok and Sangsabyeolgok have been sung longer than Hwanggyesa, Gilgunak, and Maehwaga. Also they were sung by Yangban (the nobility) class, and their Gasas became lyrics after being sung. In the musical aspect, Chunmyeongok and Sangsabyeolgokwere affected by the fast rhythm of Sijo on the basis of traditionally transmitted musical pieces. Hwanggyesa, Gilgunak, and Maehwaga have different tones by having the rhythm of Minyo (folk songs) and vocalism of Japga.
In other words, the differences of tone in transmitted affectionate Gasas were not because of the structures of literary texts, but because of the musical penetration of Japga at that times. Hwanggyesa, Gilgunak, and Maehwaga were influenced by Japga more than Chunmyeongok and Sangsabyeolgok. Due to that reason, the former were considered as less refined pieces. In the record of the 20th Century, only Maehwaga was recognized as a less refined piece. However, at the current point where the 12 Gasas are recognized and transmitted Jeongag,it is ambiguous to discuss the differences of refinement on the basis of the above reason.
Whether affectionate Gasas are influenced by sung Gasa or Japga, all of them are transmitted refined Gasas called Jeongag. Also they were sung and transmitted in the sense of the preservation of Jeongag, by keeping the refinement of the upper class while they transmitted musical pieces of Jeongag. In the point of view of Sadaebu, affectionate Gasas were sung to exercise their exclusive authorities. Therefore the affectionate Gasas havebeen sung and granted to have relatively high value, separate from Japga ofthe Seomin Class in Sijeong Culture.